Preep series of children’s books; and two serious books on the impact of television, The Ravenous Eye (Cassel 1973) and The Least Worst Television in the World (Barrie and Jenkins 1973), as well as a 90-minute play for BBC 2 also called Kill Three from which the novel was adapted. (The Victors was unique in being a novelization of the Carl Foreman screenplay about American soldiers in WWII, which was itself based upon Alexander Singer's book of short stories about British WWII soldiers, The Human Kind. Baron declined to write the novelization himself, wanting it to have an authentic-sounding American voice and avoid retreading his own work; but nonetheless also wanted to select the novelist and maintain control over the project. As the book's copyright registration, assigned to Baron, particularizes, Baron engaged Shulman to write the novelization as a work for hire.) Shulman and his fellow critic Herbert Kretzmer co-wrote the story for the film comedy Every Home Should Have One (1970); the screenplay derived from it was written by the film's star, Marty Feldman, along with Barry Took and Denis Norden; after which the material circled back to Shulman and Kretzmer who novelized the script—and as a movie tie-in edition, it was published in paperback by Hodder & Stoughton to coincide with the film's release. Shulman received the IPA Award as Critic of the Year 1966. In 1956, he wrote a scathing review of a musical Wild Grows the Heather based on a J. M. Barrie play, The Little Minister. Directed by Ralph Reader, who also wrote the lyrics, it received an ovation on its first night but Shulman and other critics knew that this was because Reader had given out first night tickets to the boys taking part in one of his Boy Scout productions and told them to go along and give the piece a good reception. Among other things, Shulman said that the plot "moved at the pace of cold porridge going uphill." In 1980, he was instrumental in setting up the London Theatre Associate awards for new and revived works undertaken by fringe, community based and touring companies. In 1994, three years after Milton Shulman had retired from theatre reviewing, The Observer critic Michael Coveney published The Aisle is Full of Noises, a spirited "vivisection of the live theatre" which he arranged in the form of a diary, including some witty if not entirely flattering